In the spring of 2020, we live in an absurdist novel

People are struggling. They are sick and dying; their businesses are shuttered or they are unemployed, either for the duration or for good. Many are caught in a virus hot zone such as New York City or New Orleans. Health workers battle it out with an invisible enemy every day. Sometimes, the enemy wins.

Sometimes you eat the bear and, sometimes, well, he eats you.

As in The Big Lebowski, the world is, at turns, hilarious and deadly serious. Creative types take to Zoom and Instagram to sing, dance, and read poetry. Poetry, especially, is a balm for hard times. I've been reading a lot of it. It's also a counterweight to the heavy and feckless hand of Trump. Whenever he weighs in, I feel like Atlas with the weight of the celestial heavens on my shoulders. Trump should be like Roosevelt or Churchill, sharing the weight with regular folks and, sometimes, removing it altogether. But he lacks all empathy and compassion and leadership skills.

For now, we're stuck with him. His minions, too, like Turtle-face McConnell and the right-wing wing of the Supreme Court and the knuckleheads with guns who barge into state capitol buildings. All this repulses me. And, as a writer, it fascinates me. I am a big fan of absurdist lit with big themes: Catch-22, Slaughterhouse-Five, The Good Soldier Schweik, anything by Terry Southern (Dr. Strangelove, Candy, etc.), Fran Liebowitz, National Lampoon writers, Lewis Nordan and other writers whom I can't remember right now. As I said, though, I'm reading poetry which is more about feelings and images that ripping off the mask of contemporary society. It's about that, too, but primarily the power of words. So much great poetry is short.

"The Death of the Ball Turret Gunner" by Randall Jarrell:

From my mother's sleep I fell into the State,
And I hunched in its belly till my wet fur froze.
Six miles from earth, loosed from its dream of life,
I woke to black flak and the nightmare fighters.
When I died they washed me out of the turret with a hose.

"The Pool Players: Seven at the Golden Shovel" by Gwendolyn Brooks. 

Sylvia Plath wrote "Poppies in October" on her last birthday following several suicide attempts. Her next attempt would be fatal.

Even the sun-clouds this morning cannot manage such skirts.
Nor the woman in the ambulance
Whose red heart blooms through her coat so astoundingly – 

A gift, a love gift
Utterly unasked for
By a sky  

Palely and flamily
Igniting its carbon monoxides, by eyes
Dulled to a halt under bowlers.  

Oh my God, what am I
That these late mouths should cry open
In a forest of frosts, in a dawn of cornflowers.

Not many of us could write so movingly of deep depression. And we can forgive her for palely and flamily, her turning strong adjectives into pale adverbs. But they work with carbon monoxides and eyes dulled to a halt under bowlers. She wrote this while living in London in the 1950s when men wore bowler hats. It invokes a grey day in London, crowds of faceless men wearing bowler hats.

You could say that these are depressing poems, and you would be right. But life is not a sitcom or a stand-up comedy routine. I take that back -- it is those and a thousand other things. Plath's last stanza echoes what happens to most of us if we live long enough and experience enough horror. Late-blooming poppies that "cry open" amidst the frost while dawn brings beautiful cornflowers.

I leave you with a Dad joke. These are the dumb jokes Dads tell which elicit groans and may be remembered fondly by their kids. The joke, as always, is on us.

Helvetica and Times Roman walk into a bar.
"Get out," shouts the bartender. "We don't serve your type here."